1. Teaching Tolstoy with Toulmin
  2. Gary Saul Morson
  3. pp. 205-220
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  1. The Written and the Sung: Ornamenting Il barbiere di Siviglia
  2. Philip Gossett
  3. pp. 231-246
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  1. Text and the Volatility of Spontaneous Performance
  2. Robert Levin
  3. pp. 247-268
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  1. Mechanical Chopin
  2. Jeffrey Kallberg
  3. pp. 269-282
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  1. Performing the Social Text: Or, What I Learned From Playing Spore
  2. Steven E. Jones
  3. pp. 283-291
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  1. Drama and Performance: Toward a Theory of Adaptation
  2. Martin Puchner
  3. pp. 292-305
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  1. "I Have Both the Note, and Dittie About Me": Songs on the Early Modern Page and Stage
  2. Tiffany Stern
  3. pp. 306-320
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  1. Writing for the Body: Notation, Reconstruction, and Reinvention in Dance
  2. Mark Franko
  3. pp. 321-334
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  1. Mozart's Harlequinade: Musical Improvisation alla commedia dell'arte
  2. Roger Moseley
  3. pp. 335-347
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  1. In the Shadow of the Crosses: Seven Poems
  2. Nate Klug
  3. pp. 348-354
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  1. Editorial Note: On Margaret Atwood's Payback
  2. p. 355
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  1. A Matter of Some Interest: Payback and the Sterility of Capital
  2. Bethany Moreton
  3. pp. 356-362
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  1. "Can't Pay" and "Won't Pay" in the Medieval Village
  2. Chris Briggs
  3. pp. 363-370
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  1. Unacknowledged Legislator
  2. William M. Chace
  3. pp. 371-374
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  1. The Shadow Side of Debt
  2. Philip Goodchild
  3. pp. 375-382
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  1. Love Knots
  2. Carole L. Glickfeld
  3. pp. 383-393
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  1. Disquieting Time: Further Reflections on Modernism and Quietism
  2. Charles M. Tung
  3. pp. 394-410
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  1. Notes on Three Northern English Quietists
  2. Colin Richmond
  3. pp. 411-422
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  1. Introduction: Patina, Deposit, Penumbra
  2. Jeffrey M. Perl
  3. pp. 221-230
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  1. Notes on Contributors
  2. pp. 423-425
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